Barney O Rierdon Or The Adventures Of An Irishman

"They will melt like snowflakes in the sun," said one observer of nineteenth-century Irish emigrants to America. Not only did they not melt, they formed one of the most extensive and persistent ethnic subcultures in American history. Dennis Clark now offers an insightful analysis of the social means this group has used to perpetuate its distinctiveness amid the complexity of American urban life. Basing his study on family stories, oral interviews, organizational records, census data, radio scripts, and the recollections of revolutionaries and intellectuals, Clark offers an absorbing panorama that shows how identity, organization, communication, and leadership have combined to create the Irish-American tradition. In his pages we see gifted storytellers, tough dockworkers, scribbling editors, and colorful actresses playing their roles in the Irish-American saga. As Clark shows, the Irish have defended and extended their self-image by cultivating their ethnic identity through transmission of family memories and by correcting community portrayals of themselves in the press and theatre. They have strengthened their ethnic ties by mutual association in the labor force and professions and in response to social problems. And they have created a network of communications ranging from 150 years of Irish newspapers to America's longest-running ethnic radio show and a circuit of university teaching about Irish literature and history. From this framework of subcultural activity has arisen a fascinating gallery of leadership that has expressed and symbolized the vitality of the Irish-American experience. Although Clark draws his primary material from Philadelphia, he relates it to other cities to show that even though Irish communities have differed they have shared common fundamentals of social development. His study constitutes a pathbreaking theoretical explanation of the dynamics of Irish-American life.

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Michael Collins and the Making of a New Ireland, which was first published in 1926 as two volumes, was written by Piaras Beaslai, a Major-General in the Sinn Fein army who was an intimate friend of Michael Collins and his senior in the inner councils of the most extreme section of the party. Michael Collins (1890-1922) was an Irish revolutionary, soldier and politician who was a leading figure in the early-20th-century Irish struggle for independence. He was Chairman of the Provisional Government of the Irish Free State from January 1922 until his assassination in August 1922. Collins’ family had republican connections reaching back to the 1798 rebellion. He moved to London in 1906 and became a member of the London GAA, through which he became associated with the Irish Republican Brotherhood and the Gaelic League. He returned to Ireland in 1916 and fought in the Easter Rising. He was subsequently imprisoned in the Frongoch internment camp as a prisoner of war, but was released in December 1916. After his release, Collins rose through the ranks of the Irish Volunteers and Sinn Féin. He became a Teachta Dála for South Cork in 1918, and was appointed Minister for Finance in the First Dáil. He was present when the Dáil convened on 21 Jan. 1919 and declared the independence of the Irish Republic. In the ensuing War of Independence, he was Director of Organisation and Adj.-Gen. for the Irish Volunteers, and Director of Intelligence of the Irish Republican Army. He gained fame as a guerrilla warfare strategist, planning and directing many successful attacks on British forces. After the July 1921 ceasefire, Collins and Arthur Griffith were sent to London by Eamon de Valera to negotiate peace terms. A provisional government was formed under his chairmanship in early 1922 but was soon disrupted by the Irish Civil War, in which Collins was commander-in-chief of the National Army. He was shot and killed in an ambush by anti-Treaty forces on 22 Aug. 1922.

An accessible history of homosexuality in Ireland, from the past when it was hidden from view through to 2015 and the historic marriage equality referendum.

In The Show I'll Never Forget, writer Sean Manning has gathered an amazing array of unforgettable concert memories from a veritable A-list of acclaimed novelists, poets, biographers, cultural critics, and songwriters. Their candid, first-person recollections reveal as much about the writers' lives at the time as they do about the venues where the shows occurred or the artists onstage. Ishmael Reed on Miles Davis Luc Sante on Public Image Ltd. Heidi Julavits on Rush Daniel Handler and Andrew Sean Greer on Metric Diana Ossana on Led Zeppelin Maggie Estep on Einsturzende Neubauten Dani Shapiro on Bruce Springsteen Gary Giddins on Titans of the Tenor! Nick Flynn on Mink DeVille Susan Straight on The Funk Festival Rick Moody on the The Lounge Lizards Jennifer Egan on Patti Smith Harvey Pekar on Joe Maneri Thurston Moore on Glen Branca, Rudolph Grey, and Wharton Tiers Chuck Klosterman on Prince Sigrid Nunez on Woodstock Jerry Stahl on David Bowie Charles R. Cross on Nirvana Marc Nesbitt on The Beastie Boys And many more . . . No matter where your musical taste falls, these often funny, occasionally sad, always thought-provoking essays-all written especially for The Show I'll Never Forget-are sure to connect with anyone who loves, or has ever loved, live music.

From the international successes of Neil Jordan and Jim Sheridan, to the smaller productions of the new generation of Irish filmmakers, this book explores questions of nationalism, gender identities, the representation of the Troubles and of Irish history as well as cinema's response to the so-called Celtic Tiger and its aftermath. Irish National Cinema argues that in order to understand the unique position of filmmaking in Ireland and the inheritance on which contemporary filmmakers draw, definitions of the Irish culture and identity must take into account the so-called Irish diaspora and engage with its cinema. An invaluable resource for students of world cinema.

The volume offers a broad range of academic approaches to contemporary and historical Irish filmmaking and representations of nationality, national identity, and theoretical questions around the construction of Ireland and Irishness on the screen.